Prehistoric Cave Art: From Image to Graphic Narration

Paragraph ◽  
2021 ◽  
Vol 44 (3) ◽  
pp. 379-393
Author(s):  
Marc Azéma

This article examines cave art in France, arguing that the images created at many sites, but particularly Chauvet, can be analysed in terms of animation, storytelling, lighting and sound. Through superimposition and juxtaposition, and using the contours of the rock face, Palaeolithic artists invented a form of narration based on images, often then animated by the flickering light of lamps and torches. Drawing on semiological work by Philippe Sohet and his terms ‘narrative image’ and ‘iconic narration’, the article sees panels of cave art as constituting scenes and actions that can be discussed in relation to both bande dessinée and cinema. Finally, evidence suggests that the spectacles produced in these spaces, whatever their elusive meaning, also depended on sound and acoustics.

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 293
Author(s):  
Tania Intan

AbstrakSecara alamiah, manusia membutuhkan sarana untuk mengisi waktu luangnyasetelah bekerja keras. Satu media yang murah, mudah dijangkau, dan digemari oleh semuakalangan di seluruh dunia adalah cerita bergambar atau komik yang merupakan bagiandari budaya populer. Pada umumnya, karya paraliteratur-visual ini memang bersifat fiktifdan hanya merupakan peniruan dari kenyataan yang digambarkan secara berlebihan(grotesque). Namun demikian, di dalam komik, sering ditemukan nilai-nilai kehidupanyang bersifat universal dan abadi sehingga dianggap layak sebagai bahan kajian budaya.Naruto, salah satu manga Jepang, dan Astérix, bande dessinée dari Prancis, akan ditelitisebagai representasi dunia Timur dan Barat. Latar sebagai unsur struktural dalam karyakaryafiksi ini ternyata juga menunjukkan kesamaan mendasar, yaitu keberadaan desasebagai tempat hidup para tokohnya. Dalam tulisan ini, akan dibahas pemaknaan lainterhadap lingkungan rural tersebut, yang memiliki andil dalam pembentukan karakterpara tokoh dari kedua komik. Metode kajian komparasi budaya akan digunakan denganpenerapan teori-teori yang relevan. Penelitian singkat ini bertujuan untuk melengkapistudi mengenai komik yang belum banyak dilakukan di Indonesia.Kata kunci: Desa, komik, Naruto, Astérix, Komparasi BudayaAbstractNaturally, humans need a way to fill their spare time after working hard. Acheap, accessible and popular medium by all circles around the world is a picture or comicstory, which is part of popular culture. McCloud (1993:7) defines comics as drawings andembossed symbols in a particular order, aimed at providing information or achievingaesthetic responses from the reader. In general, this visual-paraliterature work isindeed fictitious and merely an imitation of grotesque reality. However, in the comics, itis often found that values of life that are universal and eternal so comics are consideredappropriate as a material of cultural studies. Naruto, one of the Japanese manga, andAstérix, the bande dessinée of France, are examined as a representation of the East andWest. The background as a structural element in these works of fiction also shows the basicsimilarity of the existence of the village as the place of life of the characters. According toKartohadikoesoemo (1984:16), the village is a legal entity, in which a ruling society livesits own government. In this paper, other meanings of the rural environment, which hascontributed in the character formation of the characters from both comics are discussed.The method of cultural comparative is used with the application of relevant theories. Thisbrief study aims to complete the study of comics which is still very limited in Indonesia.Keywords: Village, Comic, Naruto, Astérix, Cultural Comparison


1993 ◽  
Vol 96 (1) ◽  
pp. 46-62 ◽  
Author(s):  
Mira Falardeau
Keyword(s):  

1975 ◽  
Vol 26 (1) ◽  
pp. 25-45 ◽  
Author(s):  
Gérard Blanchard
Keyword(s):  

1976 ◽  
Vol 24 (1) ◽  
pp. 81-93 ◽  
Author(s):  
Bernard Toussaint
Keyword(s):  

2015 ◽  
Vol 239 (3) ◽  
pp. 61-71
Author(s):  
Claude Jeay
Keyword(s):  

1989 ◽  
Vol 2 (1) ◽  
pp. 149-172
Author(s):  
Dominique-Guy Brassart ◽  
Olivier Walquemanne
Keyword(s):  

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